[Nogami]
I’m Nogami making techno/minimal music simply in Osaka.
Originally I did DJ in party of progressive house/techno/minimal in Osaka.
I stayed away from DJ triggered by a stop of party which I did DJ regularly.
Then in a sense free time increased so I thought I would like to try to make tracks.
I came to play with the DTM software which I did not use at all,
and it become an good opportunity to learn the pleasure of the making of music.

[Noriyuki Hashimoto]
What kind of concept is it to produce trucks?
In addition, what kind of artist are you affected by?

[Nogami]
The basic concept of production is “give a feeling of DEEP”.
There is no concept like “I decide to go in this concept this time” without the basic concept.
Because there are many cases to go to more different directions for while I produce music.
If I decide a concept hard first, after all I cannot make till the last.
So, there is not other than a basic concept.

In addition, the artist affected are John Degweed, Cevin Fisher, D-nox&Beckers and Dave Seaman and so on.

[Noriyuki Hashimoto]
Please tell us your feeling you put into track and title or appeal point.

[Nogami]
Title is made by a thing associated with the music after the track was completed.
“Detouch & Contact” seemed to be quiet but I made it flashy.
I attached my mind to develop as much as possible by few sounds.
I think that it can be used for peak time or so.

About While “Half Moon”, I finished it philosophical but to have a development of the music delicately spread.
There is not gaudiness, but I think it fit in to unfold plainly.
Remix of “Half Moon” is totally different from original track.
It become so kool Tech house Remix.

[Nogami]
I think all constitution of the music and the part of the baseline are now and
probably in future would be a point of having trouble.
I did not touch any musical instrument so far.
So, there was no base of making music.
For example, the basic parts such as cords fell out and are the part which I do not still understand well.
I’m always trying desperately to fill in gaps.
But the most hard point is that I have to listen to the same track so many times.
When I was a DJ, I merely heard some music and judged whether I want or not.
So, I did not hear the same music slowly and carefully many times.
But to make music I have to listen to the same track carefully to check how constitution are or whether a base and the sound of the high tone correct.
If I felt funny high tone and the baseline, I never want to hear it again.
There are so many works which I killed even if I complete it personally.

[Noriyuki Hashimoto]
Nogami released independently until now, please tell a process GALAXY RECZ was chosen to release this time.

[Nogami]
Because in independence release, there is only my filter to check if the track is good or not.
As a result, I thought whether it’s self-satisfaction.Therefore I had a strong feeling that
I would like label to judge my track and want to release it.
I gave a demonstration regardless of the overseas country.
And GALAXY RECZ called out to me.
But I did not know the name of GALAXY RECZ until January of this year.
I heard AKI Amano I had met in a club released the track from GALAXY RECZ, then I knew “GALAXY RECZ”.
Thus I listened to the track GALAXY RECZ released.
I thought that my track could be declined for a reason not to match a label color even if I sent a demonstration.
Because GALAXY RECZ release a lot of progressive tracks even if there was a techno track but it close to Deep house.
However, I thought there is any chance to release if it is a good sound source.
After I sent my demonstration, I was called to release from GALAXY RECZ.

[Nogami]
This is the first time to release for myself.
I make tracks constantly without terminating in the release of Yin & Yang.
Please expect it in the future.
In addition, I would like to do DJ again in future.